Mentored by Mississippi hill country string-bending veteran Robert "Wolfman" Belfour, youthful Mark Lemhouse’s debut release reveals not only a gifted songwriter ("Electra 225" and the jumping "Mercy Mia") and soulful, bourbon-drenched vocalist but a stellar guitarist (National, lap steel or electric), as well. The discreet addition of congas, banjos, mandolin and violin to the mix gives added dimension and depth to Lemhouse's rural blues vision.

His choice of covers is inspired. From an easy rocking version of Tampa Red's street wise "You Can't Get That Stuff No More" and the hokum saturated "Tappin' That Thing" to the riotous rockabilly of Charlie Feathers' "One Hand Loose" Lemhouse artfully melds influences. Whether it's rag, jug band, boogie or trance blues genres, there's always Lemhouse's strong Delta country blues foundation producing sounds of the shaken, not stirred, variety. Further hot spots include a drone dominated, chord-pinching incarnation of Fred McDowell's "What's the Matter with Papa's Little Angel Child," the highwire trapeze act of "Edwin's Lament" and Tom Waits' bluesiest Foot-stomper "No One Can Forgive Me but My Baby."

The atmospheric recording techniques employed at Memphis' Easley/McCain Studio leave affairs sounding like some long-lost Sun demo tape from the mid-l950s. There are tube pre-amps and vintage microphones, analog/magnetic tape and a loud and loose, Western Swing style rhythm section (particularly producer Scott Bomar's spirited upright bass playing). A love letter to the long tradition of the Memphis blues.